Born in Nyack, New York, along the Hudson River, Edward Hopper began to study art in the local schools before seeking instruction in commercial art in New York City in 1899. From 1900 to about 1906 he studied at the New York School of Art under Robert Henri and Kenneth Hayes Miller, both of whom urged their students to concentrate on modern subjects.
Among Hopper's fellow students were George Bellows, Rockwell Kent, and Guy Pene du Bois. Between 1906 and 19l0, Hopper made three European visits of several months each, spending most of his time in Paris. Living quietly with a French family, he did not study in an art school but painted on his own. The artists he looked at and admired were those Henri had suggested — Goya, Manet, Degas, Sisley and Pissarro. The latter two showed up as the first major influences of his street views of Paris.
Back home in these same years, Hopper was painting aspects of the native scene that few artists had attempted. Although the Ashcan group — Henri, John Sloan, William Glackens, George Luks and Everett Shinn — concentrated on the visual aspects of the metropolis, Hopper was the first to capture the inner feelings of the city and suburban dwellers themselves. Railroad Train (Addison Gallery of Art) and The El Station (Whitney Museum of American Art), both of 1908, were transitional works showing Hopper's movement away from Henri's dark tonalities of the period toward outdoor light and color effects. Little recognition came his way at first and Hopper was forced to concentrate on illustration work to make a living.
Hopper stopped painting completely for a time and, around l9l9, took up etching, capturing on the plate his concepts of everyday life in America that contained the essentials of his later paintings: uncompromising realism, absolute simplicity of statement and a sense of mood that raised it above mere naturalism. His etchings were accepted in major exhibitions and won prizes for the artist; this encouragement led him to take up painting again, both in oil and watercolor, a medium in which he proved to be a master.
In 1927, a showing of his oils at the Rehn Gallery in New York definitely established Hopper's reputation. From about 1920 on, a number of younger artists including Thomas Hart Benton, Charles Burchfield, Reginald Marsh, John Steuart Curry, Grant Wood joined Hopper in a nationalist school dedicated to painting the native scene in a more or less naturalistic style. Hopper's masterpieces of the 1920s and 1930s: House by the Railroad (1925, Museum of Modern Art), Automat (1927, Des Moines Art Center) and Lighthouse at Two Lights (1929, Metropolitan Museum of Art) formed the core of this American Scene movement.
Hopper's vision was unique. The people inhabiting his city and suburban scenes are lonely, anonymous, temporary inhabitants of sometimes inhospitable environments. When there is no human element, he transfers these qualities to the architecture or even to the landscape itself, using intense light to infuse human emotion.
Find original Edward Hopper paintings and prints on 1stDibs.
(Biography provided by Lincoln Glenn)
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Night Shadows
By Edward Hopper
Located in Plano, TX
Night Shadows. 1921. Etching. Levin 82. 7 x 8 3/8 (sheet 10 x 13 7 1/16).s Series: Six American Etchings: The New Republic Portfolio, 1924. Edition approximately 500-600. Illustrate...
Etching
Tugs on the Hudson
By Charles Frederick William Mielatz
Located in Middletown, NY
Drypoint etching with engraving printed in black ink on Japanese mulberry paper, 4 1/2 x 3 3/8 inches (113 x 84 mm), full margins. In superb condition. A beautiful New York City river...
Handmade Paper, Drypoint, Etching
The Grolier Club Library (Sketch)
By John Taylor Arms
Located in Middletown, NY
Etching on cream laid paper, 3 7/8 x 5 7/8 inches (99 x 150 mm), full margins. Signed, dated, and inscribed "Sketch Grolier Club Library Demonstration Print," and numbered "I" in pen...
Handmade Paper, Laid Paper, Etching
La Bella Venezia
By John Taylor Arms
Located in Middletown, NY
(New York: John Taylor Arms, 1930) Etching on antique cream laid paper with a fancy "G" watermark, 7 1/8 x 16 1/2 inches (182 x 442 mm), full margins. Signed, dated and inscribed "Ed. 70" in pencil, lower margin. From a total edirion of 81 plus 5 trial proofs. Printed by Henry E. Carling. Number 18 from the Italian Series. A superb impression of this scarce print, with all of the subtleties and details of the reflections in the water printing clearly. [Fletcher 232] [Illustrated: Page 192, Arms, Dorothy Noyes, "Hilltowns and Cities of Northern Italy"]. Along with his constant companion and wife, Dorothy Noyes, Arms spent decades exploring and documenting gothic structures throughout Europe. Noyes, an accomplished travel writer, had gifted Arms an etching set...
Etching
S. L Margolies, Silent Symphony
Located in New York, NY
S. L Margolies (Samuel L.) made dynamic urban views and calm country scenes. This peaceful subject, with snow-covered hills and tidy cabin, Silent Symphony, 1946, marks an end to the...
Etching
$400
H 6.25 in W 10.25 in
Kent Hagerman, (United States Air Force, Fairchild XC-120 Packplane)
By Kent Hagerman
Located in New York, NY
Kent Hagerman was an amazing draftsman who managed to get fantastic detail into his work while showing the environment and atmosphere. This print captures the moment a 'pod' is bein...
Etching
Eglise Notre Dame, Les Andelys
By John Taylor Arms
Located in Middletown, NY
Etching and drypoint on greenish cream wove paper, 3 1/4 x 1 15/16 inches (81 x 48 mm), full margins. Signed, dated, and inscribed "III" in pencil. Number 46 from the French Churche...
Handmade Paper, Etching
Irving Guyer, Christmas Trees on Second Street (NYC)
By Irving Guyer
Located in New York, NY
Philadelphia-born Irving Guyer attended the Art Students League and worked in New York City before moving to California. This print is signed and titled i...
Drypoint, Etching
From the Ponte Vecchio, Florence
By John Taylor Arms
Located in Middletown, NY
Etching and aquatint on hand made F.J. Head & Co watermarked cream laid paper, full margins. Signed and dated in pencil, lower right margin. From the edition of 160 (from a total of ...
Handmade Paper, Laid Paper, Etching, Aquatint
Rouen; The Cathedral of Notre Dame from the South
By John Taylor Arms
Located in Middletown, NY
Etching on F.J. Head & Co. watermarked cream laid paper, 8 1/8 x 7 5/8 (205 x 184 mm), full margins. Signed and dated in pencil, lower margin. Illustrated in Dorothy Noyes Arms, Chur...
Laid Paper, Etching
John Winkler, View from Colby Meadows
Located in New York, NY
Winker is pulling out all the stops to make as stunning a Western Landscape as possible. The sky in this impression is open. There are also impressions with clouds in the sky. Sign...
Etching
The Church of St. Francis and the Natizone; Cividale
By John Taylor Arms
Located in Middletown, NY
1931. Etching on antique laid Japon paper, 10 x 14 13/16 inches (254 x 377 mm), full margins. Signed in pencil and inscribed "Ed. 100" (from a total edition of 128). Third state (of ...
Handmade Paper, Laid Paper, Etching
$400
H 6.38 in W 9.75 in
Kent Hagerman, (US Air Force Fairchild C-119, the 'Flying Boxcar')
By Kent Hagerman
Located in New York, NY
While this is probably a military airport, Kent Hagerman still shows it at its futuristic best. Hagerman was an amazing draftsman who managed to get fantastic detail into his work. This is really a portrait of a plane -- the Fairchild C-119. The words 'United States Air Force' on the side of the plane date it to 1947 or later, after the Air Force split from the Army. The design featured the 'twin boom' clearly showing in this etching. Thanks to this feature it was called the Flying Boxcar. About 1100 were built and used until 1955. It was also used by the Chinese Air...
Etching
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H 13.75 in W 11.75 in D 1.5 in
Edward Hopper Compartment C Car 193 Lithograph, Numbered, Plate Signed & Framed
By Edward Hopper
Located in Plainview, NY
This evocative lithograph, Compartment C, Car 193, is a reproduction of the iconic 1938 painting by American realist Edward Hopper (American, 1882-1967). Published in 1986 in a limit...
Lithograph
Night Shadows
By Edward Hopper
Located in New York, NY
A superb, richly-inked impression of this iconic etching. Edition of approximately 500. Signed in pencil by Hopper, lower right. Published by The New Republic, New York. Catalogue ...
Etching
Edward Hopper - Morgen in Cape Cod
By Edward Hopper
Located in Central, HK
Edward Hopper Morgen in Cape Cod, 1950 Print on paper 60x80cm Edition of 1,000
Paper
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H 21.5 in W 27.5 in D 3 in
The Battery, Charleston, South Carolina By Edward Hopper
By Edward Hopper
Located in New Orleans, LA
Edward Hopper 1882-1967 American The Battery, Charleston, South Carolina Signed “Edward Hopper / Charleston, S.C.” (lower right) Watercolor,...
Paper, Chalk, Watercolor, Pencil
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H 26 in W 36 in D 0.1 in
1991 Edward Hopper 'Portrait of Orleans (1950)' Realism USA Offset Lithograph
By Edward Hopper
Located in Brooklyn, NY
Paper Size: 26 x 36 inches ( 66.04 x 91.44 cm ) Image Size: 20 x 31 inches ( 50.8 x 78.74 cm ) Framed: No Condition: A-: Near Mint, very light signs of handling Shipping and...
Offset
Night Shadows
By Edward Hopper
Located in Plano, TX
Night Shadows. 1921. Etching. Levin 82. 7 x 8 3/8 (sheet 10 x 13 7/16). Series: Six American Etchings: The New Republic Portfolio, 1924. Edition approximately 500-600. Illustrated: Beall, American Prints in the Library of Congress: 222. Signed in pencil. A rich impression printed by the master printer, Peter Platt, on Van Gelder wove paper with full margins. Kraushaar Gallery label and sales receipt. Signed in pencil. oused in a 16 1/4 x 17 5/8 x 1-inch silver and champagne gold modernist frame. ------------------------------------------------------------------------------------------------- Janet L. Comey wrote, in Edward Hopper: Hours of Darkness: Many of Edward Hopper’s (1882–1967) most admired paintings are night scenes. An enthusiast of both movies and the theater, he adapted the device of highlighting a scene against a dark background, providing the viewer with a sense of sitting in a darkened theater waiting for the drama to unfold. By staging his pictures in darkness, Hopper was able to illuminate the most important features while obscuring extraneous detail. The settings in Night Windows, Room in New York, Nighthawks, and other night compositions enhance the emotional content of the works — adding poignancy and suggestions of danger or uneasiness. The Nyack, New York, born Hopper trained as an illustrator before transferring to the New York School of Art, where he studied under Ashcan School painter Robert Henri (1869–1929). Near the beginning of his career, he revealed an interest in night scenes. On his first trip to Europe in 1906–07, he was fascinated by Rembrandt’s Night Watch (1642) in the Rijksmuseum in Amsterdam; writing to his mother that the painting was “the most wonderful thing of [Rembrandt’s] I have seen, it’s past belief in its reality — it almost amounts to deception.” In several early paintings, Hopper depicted rooms and figures in moonlight. Thereafter, he showed scenes illuminated by artificial light. Painting darkness is technically demanding, and Hopper was constantly studying the effects of night light. Emerging from a Cape Cod restaurant one evening, he remarked upon observing some foliage lit by the restaurant window, “Do you notice how artificial trees...
Etching
EDWARD HOPPER Lighthouse Hill 25" x 34.5" poster Realism Black
By Edward Hopper
Located in Brooklyn, NY
Poster printed for the Dallas Museum of Art. Small dent in the middle of the image and bottom right corner creased.
Lithograph, Offset
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H 27 in W 32 in
EDWARD HOPPER Cape Cod Evening 27" x 32" Poster 1986 Realism Brown
By Edward Hopper
Located in Brooklyn, NY
Printed for The National Gallery of Art, Washington. Published and distributed by Graphique de France. Dents throughout poster.
Lithograph, Offset
Edward Hopper-The Barber Shop-30" x 24"-Poster-1981-Realism
By Edward Hopper
Located in Brooklyn, NY
Poster for an Edward Hopper exhibition which was held at The Neuberger Museum in 1981.
Offset